Le nozze di Figaro

Le Nozze Di Figaro as I've said quite a few times has always been one of my favourites. This production is not my first choice, that's between the 1975 Ponnelle film, and the 1973, 1993 and 1994 productions. However it is entertaining enough, with magnificent music and very good singing. Visually it mostly works, especially for acts 2 and 3. On the other hand, act 4 is rather confusing and perhaps too brightly lit. The costumes are mostly fine, apart from the Countess whose chemise and sleeveless gown seemed out of place to me.

The staging is suitably complicated with the hiding in chairs, slipping into the room unseen by others and the smacking someone-missing-and-someone-else is convincing. The best touch for me was Cherubino making his escape by diving into the orchestra pit(hope nobody got hurt though. Musically, the orchestra are stylish and playful, the oboe solo in Dovo Sono is especially good, with Rene Jacobs delivering one of more exuberant conducting jobs of this score I've heard or seen.

I liked the performances on the whole. Luca Pisaroni sings Figaro beautifully, but he is a tad wooden. Pietro Spagnoli fares better, his voice is strong, is wonderful in the ensembles and is a good actor, though perhaps he is not quite as menacing as some. Bartolo is rather young, but is still very good with some effective pattering in his act 1 aria. Basilio and Antonio are solid. Rosemary Joshua is a beautiful, charming Susanna, and Annette Dasch sings lyrically and wonderfully as the Countess if occasionally wayward.

Angelika Kirschlager is maybe a little too pretty for Cherubino but the role has plenty of allure and is very convincing. Marcellina is young and beautiful, and excellently sung, it was an interesting idea but I wasn't entirely sure whether it would make the sarcasm duet between her and Susanna quite as believable(doesn't Susanna make a dig at her age at one point?) Overall, entertaining if not absolutely perfect. 8/10 Bethany Cox

I am getting the chance to watch lots of opera over the next few weeks while Mrs. G is in Australia, even though she does phone me occasionally to tell me to turn the sound down. I watched this 2004 production from Paris Chatelet the day after I saw the BBC broadcast of the latest 2006 production of Figaro from Covent Garden. It was interesting to see that they both start with Figaro measuring Susanna's vital statistics rather than the dimensions of the bedroom. At least in the London production Figaro has the decency to use a ruler, whereas in this Paris production he uses his hands.

Both productions pay great attention to the detail of the plot and, in this production, Jean-Louis Martinoty the stage director makes this most complicated of operas quite clear. He is helped by a brilliant design that looks like an artist's studio with over-sized canvasses everywhere. These are moved around as required and provide good concealment for Cherubino. Only the final act is a little unclear with the singers hiding behind gauzy curtains on a fairly murky stage.

Luca Pisaroni is vocally excellent but makes an uncharismatic Figaro. Rosemarie Joshua as Susanna has a thin, but beautiful voice, a sort of female Art Garfunkel. Singing alone she sounds a little exposed but she is splendid when providing the high notes in the ensembles. Annette Dasch is vocally wayward as the Contessa and does not seem up to her two big arias although, again, she is fine in the ensembles. Pietro Spagnoli is somewhat lacking in testosterone as the Count. Sophie Pondjiclis makes the most of her opportunities as Marcellina. The minor roles, which are so important in this opera are, generally, no more than adequate so that, for example, the comic possibilities of the scene where Figaro discovers he is the son of Marcellina and Don Bartolo are mostly missed.

Angelika Kirchschlager may no longer look sufficiently boyish to play Cherubino but she has always filled a good pair of trousers and looks very fetching in her pink velvet suit. Her "Voi che sapete" is, for me, the highlight of the production although the churlish Paris audience does not applaud it. She makes her escape, not through the window as is usual but by diving into the orchestra pit. I thought the film director, Pierre Barret missed a trick here by not showing her landing on a tangled heap of musicians. René Jacobs conducts an orchestra of what sounded to me like period instruments. Perhaps they were too expensive to be jumped on.